Relix

Before Janis Joplin had an album. Before Syd Barrett left Pink Floyd. Before Santana's debut existed. Before "Light My Fire" hit number one. These shows happened, and Bill Graham printed the paper to prove it."The Sound: Fillmore &amp; Winterland Originals, 1966–1970" is twenty-one lots drawn from a single private archive, posters, handbills, and tickets spanning the foundational years of San Francisco rock. Wes Wilson's psychedelic typography. Bonnie MacLean's post-Wilson authority. Lee Conklin's dense, intricate hand. Rick Griffin at the height of his powers. And the bills themselves: the Grateful Dead across six years of Fillmore history, Cream on leap day 1968, the Doors the night "Light My Fire" went to number one, Pink Floyd's first and only American tour with Syd Barrett.These are the documents from before the records existed. Graham called it The Sound. This is what it looked like.

January 1968: seven months after Monterey Pop detonated Janis Joplin's name across the national consciousness, eight months before Cheap Thrills would make her a household name. Big Brother and the Holding Company are at the apex of their Fillmore run — the room knows it's witnessing something, and BG 104 is the paper that proves it.Sharing the bill across Fillmore and Winterland: The Electric Flag, Mike Bloomfield's newly-formed supergroup following his departure from the Paul Butterfield Blues Band, already one of the most electrifying live acts on the circuit. And the Youngbloods, "Get Together" is already in wide circulation. Three nights, two venues, one of the most loaded triple bills of the era.This lot is the complete three-night archive: a first-edition poster grading Excellent (14 3/16 × 21 in.), and two individual night tickets, January 25 and 26, each in Mint condition, and the original handbill (Good, light wear consistent with age), which surfaces an unlisted billing absent from the poster entirely: Boston psych outfit Ultimate Spinach. Complete sets at this condition tier are genuinely rare.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG 104 | Big Brother & The Holding Company, The Electric Flag, The Youngbloods January 25–27, 1968 | The Fillmore & Winterland | Poster, 2 Tickets, Handbill

The run opens on February 29, a date that only exists every four years, and that accidental rarity fits the moment. Disraeli Gears had been out for three months, "Sunshine of Your Love" was climbing the American charts, and Clapton, Bruce, and Baker were at the absolute height of their powers as a live unit. The May 1968 breakup decision was still months away. This four-night stand at the Fillmore and Winterland is prime Cream, no asterisks.Lee Conklin's design arrives at a high point in his Fillmore tenure, dense, intricate, his hand immediately recognizable to any serious BG collector.This lot is honestly cataloged as an incomplete set. The anchor is a third-edition poster in Excellent condition, clean and fully displayable at 13 7/8 × 20 15/16 in. Accompanying it: a single original ticket from opening night, February 29, grading Very Good, a leap-day artifact that stands on its own. The handbill covers the full four-night run, grading Good at 4 3/8 × 6 7/8 in. Three pieces, one run, no complete ticket set, priced accordingly.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG 109 | Cream | The Fillmore & Winterland February 29–March 3, 1968 | Lee Conklin | Third Edition

December 1969: Live/Dead had been in the world for barely three weeks when the Dead walked back into the Fillmore West for this four-night run. Widely regarded as one of the greatest live albums ever committed to tape, its release marked the moment the Dead's reputation for transcendent improvisation became impossible to ignore outside the cult. These December shows are the immediate follow-through. the band at their most confident, the room already buzzing with what the record had just documented.Sharing the bill: Humble Pie, the British outfit formed earlier that year by Steve Marriott, fresh off the Small Faces, alongside a young Peter Frampton, making serious early inroads with American audiences. The pairing of San Francisco's hometown icons with one of London's most promising new rock acts gives this four-night run a genuine transatlantic charge.Designed by David Singer, BG 205 is a first edition, 14 × 22 in. Condition grades Good: tack holes at the corners, creases consistent with period display, this poster lived on a wall, exactly as intended. Priced accordingly for its grade, it remains one of the most accessible entry points into the Dead's Fillmore West catalog.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG 205 | The Grateful Dead, Humble Pie | The Fillmore West December 4–7, 1969 | David Singer | First Edition

The image on this poster became one of the most recognizable in rock history, not just as a Fillmore artifact, but as the basis for Santana's self-titled debut album cover. Lee Conklin's snarling lion's head, with its hidden faces and flowing figures, was so arresting that Santana asked him to rework it directly for the record. The album wouldn't drop until 1969. This poster is from before any of that, Santana still building their Fillmore reputation, the artwork not yet carrying the weight it was about to carry.The bill runs deep. Steppenwolf had released "Born to Be Wild" just weeks before this run, it was already climbing the charts, already soundtracking the summer. The Grateful Dead close out the full six-night engagement on the back half of the run.One transparency note for the collector: this is a fifth-edition printing of BG 134. First editions command significantly higher premiums, original first printings can easily command over $5,000 in top preserved states. This copy grades Excellent at 14 × 20 in., clean and fully displayable, and represents a legitimate way to own one of the most culturally resonant images in the entire BG series at a condition-appropriate price point.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG 134 | The Grateful Dead, Steppenwolf, Santana | The Fillmore West August 27–29, 1968 | Lee Conklin | Fifth Edition

Two days. That's how long the Grateful Dead's self-titled debut album had been in the world when this show happened on March 19, 1967. Their first record on Warner Bros., the one that introduced "Golden Road" and "Cream Puff War" to anyone outside the Haight, had just landed, and the Dead walked back into the Fillmore to share a bill with Chuck Berry, the man who handed rock and roll its vocabulary in the first place. The generational handoff implied in that pairing is as rich as it gets.This is Wes Wilson in his prime Fillmore period, one of the Big Five poster artists, the designer who essentially invented psychedelic typography, his Art Nouveau-inflected letterforms already redefining what a concert announcement could be. BG 55 is among his later contributions to the BG series before his departure from the Fillmore later that year.Second edition, Very Good condition (13½ × 20 9/16 in.) — clean and displayable, with the honest wear of nearly six decades. A poster-only lot, priced for its grade.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG 55 | The Grateful Dead | The Fillmore March 19, 1967 | Wes Wilson | Second Edition

October 1966: the Grateful Dead have no album. No Warner Bros. deal, no studio recordings, no national profile beyond the Haight and the people who'd been showing up to Fillmore shows all year. What they have is the room, and Bill Graham put them on a two-night stand at catalog number 32, sharing the bill with Lightnin' Hopkins, the East Texas blues titan whose fingerpicking style and storytelling directness ran as a deep current through everything Jerry Garcia was developing as a guitarist.The pairing isn't incidental. The Dead's roots in country blues, jug band music, and the rural American folk tradition were always present beneath the psychedelia, and here, five months before their debut album would introduce them to the world, they're on a bill with one of the living masters of that lineage. Hopkins and Garcia in the same building in 1966 is a collector's footnote that deserves to be a headline.At catalog number 32, this is Wes Wilson deep in the early Fillmore run, his psychedelic typography still crystallizing into the style that would define the era.Second edition, Good condition (13½ × 22 in.), corner imperfections consistent with age and period handling, honestly graded and priced accordingly. A poster-only lot documenting the pre-album Dead at their most purely local and alive.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG 32 | The Grateful Dead | The Fillmore October 21–22, 1966 | Wes Wilson | Second Edition

Before the album. Before the Summer of Love. Before Monterey. In December 1966, the Grateful Dead were still almost entirely a San Francisco phenomenon, and Bill Graham put them on a three-night bill that tells you everything about what the Fillmore was doing culturally.Big Mama Thornton, the Texas blues titan who wrote "Ball and Chain," shared a stage with the Dead just six months before Janis Joplin's Monterey performance of that same song changed everything. Tim Rose, whose recording of "Morning Dew" directly shaped the version the Grateful Dead would make one of the most anticipated moments in their live catalog for the next three decades. Three nights, three wildly different musical lineages in the same room, all pointing toward something the world hadn't quite named yet.Wes Wilson at catalog number 41 — early in the BG series, his psychedelic typography was still finding its full voice. Second edition, Very Good condition (14 × 22⅛ in.), clean and fully displayable. A poster-only lot that documents one of the more historically resonant triple bills of the entire Fillmore era.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG 41 | The Grateful Dead | The Fillmore December 9–11, 1966 | Wes Wilson | Second Edition

Eight weeks before Monterey Pop transformed Janis Joplin into a national phenomenon, she was still playing three-night stands at the Fillmore, this time opening for one of the architects of the electric blues. Howlin' Wolf, whose "Smokestack Lightning," "Spoonful," and "Back Door Man" ran through the DNA of virtually every band playing the Fillmore circuit, headlining alongside the band that was about to change everything. The generational transfer happening in that room across three nights in April 1967 is as loaded as any bill in the series.One collector's note on the poster itself: Wes Wilson, working at pace, spelled the headliner's name "Howling Wolf", the extra "g" a documented production quirk that has become part of BG 60's identity among collectors.Worth knowing for the record: BG 60 was printed once. Every surviving copy is a first edition, no reprints were ever produced, making this a single-pressing artifact with no secondary market to dilute it.First edition, Very Good condition (14 × 23¾ in.). Clean, displayable, honest age-appropriate handling. A poster-only lot that catches Janis Joplin at the Fillmore in the last quiet weeks before everything changed.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG 60 | Howlin' Wolf, Big Brother & The Holding Company | The Fillmore April 21–23, 1967 | Wes Wilson | First Edition

May 1967: the Grateful Dead's debut album has been in the world for seven weeks, Monterey Pop is six weeks out, and the Summer of Love is about to detonate San Francisco into the national consciousness. This two-night stand at the Fillmore catches the Dead at the precise hinge point, a recording band now, but still playing the room that made them, right before everything went irreversibly wide.Supporting acts worth noting: The Paupers, the Canadian outfit who would share the Monterey bill with the Dead just six weeks later, making this an early document of that festival's orbit.BG 62 is Wes Wilson working deep into his Fillmore tenure, by mid-1967 he would depart following a dispute with Graham over royalties, making his later BG numbers among the final artifacts of one of the defining designer-venue relationships in American rock history.Second edition, Good condition (14 × 23 in.), corner creases consistent with period handling, honestly graded and priced accordingly. A poster-only lot. For the Wilson completist or the collector building the Dead's pivotal 1967 Fillmore run, BG 62 lands at a genuinely significant moment in the calendar.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG 62 | The Grateful Dead | The Fillmore May 5–6, 1967 | Wes Wilson | Second Edition

One week after this run, Monterey Pop happened, and The Doors weren't on the bill. Deliberately excluded, as the story goes, for not fitting the peace-and-love image of the festival. While Jefferson Airplane and Big Brother played to the world at Monterey on June 16th, The Doors had just finished two nights at the Fillmore that by all accounts were as intense as anything they put down that year."Light My Fire" was climbing the charts in real time during this run, still six weeks from hitting number one, but already pulling the band out of the underground and into something wider. The June 9–10 Fillmore stand sits right at that hinge. The room knew it was watching something shift.One documented footnote: during these shows, Morrison accidentally caught Bill Graham in the head with a twirling microphone. Graham received a hand-painted helmet as an apology before the next Doors Fillmore run in July.Bonnie MacLean's design comes in her post-Wilson period of full authority over the Fillmore's visual identity. Third edition, Very Good condition (14 × 23 in.), a single corner ding at bottom right, otherwise clean and displayable. Priced for the grade.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG 67 The Doors, The Fillmore Poster June 9-10, BG 67 | The Doors | The Fillmore June 9–10, 1967 | Bonnie MacLean | Third Edition

Sixteen days after Janis Joplin walked off the Monterey Pop stage and into rock history, Big Brother and the Holding Company came home to the Fillmore for six nights. The audience in that room knew what had just happened, they'd been watching it build for two years, and this run, opening on the Fourth of July at the height of the Summer of Love, carries the full weight of that moment. San Francisco's counterculture at its absolute zenith, document in hand.Bo Diddley headlines, the man whose 1955 beat became one of the foundational rhythms of rock and roll, still a commanding live presence a decade later, and an inspired booking alongside the most talked-about band in America that July.Bonnie MacLean's design arrives in the period following Wes Wilson's departure from the Fillmore, her work stepping fully into its own authority in the BG series.First edition, Excellent condition (14 × 21 in.), no folds, no tears, paper clean and bright. The strongest grade in this lot series, priced accordingly and ready to display. A poster-only lot documenting one of the most charged weeks in Fillmore history.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG 71 | Bo Diddley, Big Brother & The Holding Company | The Fillmore July 4–9, 1967 | Bonnie MacLean | First Edition

July 25, 1967: "Light My Fire" hits number one. That same night, The Doors walk onto the Fillmore stage for the first of six nights. The commercial breakthrough and the Fillmore run land on the exact same date, BG 75 is the document of that collision, the moment the Doors crossed fully from underground phenomenon to the biggest band in America, playing the room that built them.Sharing the bill: The Yardbirds, but not the band most collectors picture. By July 1967, Eric Clapton and Jeff Beck were long gone. This is the Jimmy Page lineup, twelve months before Page would walk away and form The New Yardbirds with Robert Plant, John Paul Jones, and John Bonham. The band that became Led Zeppelin was one year away. What's on this poster is its direct predecessor, at the Fillmore, on the week "Light My Fire" went to number one.Six nights. Two bands at defining moments in their respective trajectories. Bonnie MacLean's design in her full Fillmore authority.Fourth edition, Very Good condition (14¼ × 21 11/16 in.), mild creases consistent with age, clean and displayable. Priced for the grade, and one of the more historically loaded bills in this entire series.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG 75 | The Doors, The Yardbirds | The Fillmore July 25–30, 1967 | Bonnie MacLean | Fourth Edition

October 1967: Syd Barrett's Pink Floyd on their first American visit, The Piper at the Gates of Dawn freshly in the world, playing three nights at the Fillmore. Within months Barrett would be gone, his mental health deteriorating through the end of 1967 and into early 1968, David Gilmour stepping in by spring. This three-night Fillmore run sits in that narrow, irreplaceable window: the original lineup, the original vision, still intact.BG 90 is Bonnie MacLean designing at the height of her Fillmore authority, one week before the same venue would host Pink Floyd again alongside Big Brother for the legendary BG 91 run.The anchor is a third-edition poster in Excellent condition, clean, fully displayable, no folds or tears at 13 × 20 in. Accompanying it is a single original show ticket from the opening night, October 26, grading Fair; a surviving artifact but not a display piece. For the Barrett-era collector, the poster stands on its own. The ticket is provenance.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG 90 | Pink Floyd | The Fillmore October 26–28, 1967 | Bonnie MacLean | Third Edition

Steve Miller built his name at the Fillmore. He appeared at Monterey Pop in June 1967, recorded his debut in London the following year, and spent the years between building one of the most consistent catalogs of any San Francisco original. By November 1970 he's headlining two nights at Winterland behind Number 5, and that album carries weight beyond its chart position. "Jackson-Kent Blues," its most charged track, was a direct response to the killing of four students at Kent State six months earlier. Performing it live in San Francisco in November 1970 landed differently than almost anywhere else in the country.Sharing the bill: Country Joe McDonald, the Bay Area folk-rock icon whose band the Fish had just dissolved. Two artists whose careers had grown up together in the Haight, on the same Winterland stage as the 1960s fully gave way to the new decade. Bill Graham understood the resonance of that pairing.Randy Tuten's first-edition design sits in the Winterland Productions catalog rather than the BG numbered series, placing it outside the most actively traded segment of the market, which tends to keep prices accessible for collectors building the early 1970s Winterland run.First edition, Very Good condition (14 × 21 in.), clean, fully displayable, no significant wear. A poster-only lot priced at a level that reflects the grade and the catalog designation rather than the cultural weight of the bill.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

WIN 701120 | Steve Miller Band, Country Joe McDonald | Winterland November 20–21, 1970 | Randy Tuten | First Edition

February 1967: Quicksilver Messenger Service headlining three nights at the Fillmore, their marathon improvisational guitar interplay between John Cipollina and Gary Duncan already defining what San Francisco psychedelia could sound like at full stretch. What the poster doesn't tell you, and the handbill does, is that Jefferson Airplane was also on the bill, in the same month Surrealistic Pillow was released. "Somebody to Love" and "White Rabbit" were brand new. The room that weekend was carrying the full voltage of a scene at its most generative.This is the document of that discrepancy: a Wes Wilson first-edition poster that went to press before the Airplane was added to the bill, and a handbill, printed later, that carries both bands and tells the complete story. Both pieces, one run, one designer.The poster grades Good, with tack holes and creases from period display (13 9/16 × 23 3/16 in.); the handbill grades Excellent, clean and bright at 4 7/8 × 8 1/8 in. The handbill is the stronger physical piece. Together, they document a show that the poster alone only partially captures.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG 48 | Quicksilver Messenger Service, Jefferson Airplane | The Fillmore February 3–5, 1967 | Wes Wilson | First Edition

Pink Floyd's American debut. Syd Barrett's first, and only, United States tour with the band. By the time the November 2–4 run at the Fillmore concluded, Barrett's deterioration was visible enough that within weeks the band would ask David Gilmour to join as cover. By April 1968, Barrett was officially gone. BG 91 documents the original lineup, on American soil, for the first and last time.Sharing the bill: Big Brother and the Holding Company, four months after Monterey had made Janis Joplin a household name. The collision of Barrett's psychedelic Cambridge vision and Joplin's raw San Francisco power on the same Fillmore stage across three nights is the kind of bill that gets taught in music history courses. The Metropolitan Museum of Art holds BG 91 in its permanent collection, a meaningful marker of where this poster sits culturally.Bonnie MacLean's design is among her most celebrated Fillmore works.The anchor is a first-edition poster grading Good: tack holes and creases consistent with period display (14 1/16 × 21 1/8 in.), priced for the condition. Accompanying it is a rare uncut double handbill covering both BG 91 and BG 92, two consecutive weeks of shows on a single uncut sheet (4½ × 14 in.), designed by MacLean and Nicholas Kouninos. The handbill grades Poor and requires condition notes before listing; it is a document piece, not a display piece, but as an uncut double, its format is genuinely uncommon in the market.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG 91 | Pink Floyd, Big Brother & The Holding Company | The Fillmore November 2–4, 1967 | Bonnie MacLean | First Edition

Axis: Bold as Love had been in American record stores for roughly two weeks when Jimi Hendrix walked into the Fillmore for this four-night run. The second album, the one that showed exactly how far the Experience intended to push the form, was brand new, and the band was playing it live at the venue that had done more than any other to build their American reputation. BG 105 is the document of that moment.The bill is equally remarkable in depth: John Mayall, whose Bluesbreakers had already launched Eric Clapton and Peter Green, and Albert King, whose "Born Under a Bad Sign" had just redefined what the electric blues could be. Three generations of the guitar lineage on one poster.Rick Griffin's design is among his most celebrated Fillmore works, one of the Big Five artists at the height of his powers, producing an image that has become inseparable from how collectors picture the Hendrix-era Fillmore.Condition must be disclosed clearly: this second-edition copy is dry mounted to a backing board, an irreversible process, and shows paper loss, grading Fair overall. It is not a display piece. For the Hendrix completist or Griffin collector building historical depth at an accessible price point, it remains a legitimate original artifact of a genuinely significant run.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG 105 | The Jimi Hendrix Experience, John Mayall, Albert King | The Fillmore & Winterland February 1–4, 1968 | Rick Griffin | Second Edition

Sixteen months after Woodstock. Eleven months before There's a Riot Goin' On. December 1970 is the precise hinge point in one of the most dramatic transformations in American music history, the moment between the joyful, Technicolor Family Stone that tore Yasgur's farm apart and the dark, paranoid, studio-isolated Sly Stone recording alone in a Bel Air mansion. This two-night Winterland stand is documented evidence that the band actually showed up, by this point, of the 80 scheduled concerts that year, Sly had already missed 26.Also on the bill: Little Sister, the vocal group led by Sly's sister Vet Stewart, whose harmonies would appear throughout There's a Riot Goin' On. The cast of the next album, performing at Winterland ten days before Rolling Stone ran a piece asking publicly where Sly Stone had gone.Randy Tuten's first-edition design is among his Winterland-era work, collectible, period-correct, and outside the BG numbered series, which makes Winterland Productions pieces like this less commonly seen in the market.Condition must be disclosed: Fair, with handling marks, this is a document, not a display piece, priced accordingly at the grade.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

WIN 710211 | Sly & The Family Stone | Winterland December 11–12, 1970 | Randy Tuten | First Edition

February 1968: The Who Sell Out had been in American record stores for roughly six weeks, and the band was touring behind it through the same circuit that had made their Monterey Pop performance the previous summer one of the most talked-about sets of that festival. Three nights at the Fillmore and Winterland, Pete Townshend, Keith Moon, Roger Daltrey, and John Entwistle at the precise moment The Who were cementing their American reputation as the most physically dangerous live act in rock.The bill is pure Graham: Cannonball Adderley, whose "Mercy, Mercy, Mercy" had crossed jazz into soul radio the previous year, sharing three nights with a British rock band hell-bent on destroying their own equipment. The Vagrants, worth noting, featured a young Leslie West, years before he founded Mountain. The eclecticism is the point, and it's why these posters remain so historically charged.Lee Conklin's design is among the most sought-after of his Fillmore tenure, intricate, densely worked, unmistakably his hand.Condition is honestly graded Fair: creases and tack holes consistent with period wall display (13 7/8 × 21 in.), priced accordingly. A poster-only lot for the Who collector or Conklin enthusiast building the 1968 Fillmore run at a genuine entry price point.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG 108 | The Who, Cannonball Adderley, The Vagrants | The Fillmore & Winterland February 22–24, 1968 | Lee Conklin | First Edition

BG 144 The Grateful Dead, Quicksilver Messenger Service, The Fillmore West Poster

"The Sound" was Bill Graham's own description of what was happening musically in San Francisco in the fall of 1966, and he handed those two words to Wes Wilson, who turned them into one of the most celebrated images in the entire Fillmore canon. The curvaceous nude female figure Wilson built around Graham's phrase became so immediately iconic it drove multiple print runs, making BG 29 one of the rare early BG posters that exists in documented editions precisely because demand demanded it. The bill is equally loaded. Jefferson Airplane, debut album barely six weeks old, Signe Anderson still on vocals in the last weeks before Grace Slick's arrival transformed them, sharing six nights with the Paul Butterfield Blues Band, whose Newport Folk Festival appearance the previous year had already changed how rock musicians understood the electric blues. And Muddy Waters, the architect of Chicago blues, whose vocabulary ran through everything on that stage.Three lineages of American music, one poster, one phrase that Graham coined to name a scene that had never been named before.Second edition, Fair condition (13½ × 24½ in.), creases and rips at the top, honestly graded and priced for the condition. A poster-only lot. For the Wilson completist or early Fillmore historian, BG 29 in any edition is non-optional.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

The Sound: Fillmore & Winterland Originals, 1966–1970